Opera singer as HeldenTenor

"The very rare out-and-out heavy dramatic voices are the slowest to mature. Often they can spend years in the vocal category below the one they are destined for; marking time, as it were, until their voices acquire the range and strength necessary to fulfil their artistic destiny.These real dramatic voices are difficult to identify early on, and require specialist guidance if they are to fulfil their potential. (…)"  Neil Howlett, “On singing Wagner”, Opera festivals 2011

In May 2011, Brian GREEN presented in front of a panel of experts for the Wagner Society in London some Heldentenor Arias and was one of the 3 laureates amongst the 35 candidates who auditioned with this very challenging repertoire. He was then invited to sing in June at the Wagner Society Annual General Meeting, and continues to coach with the best vocal specialists both in France and in England to ensure his progression from a high Baritone to a secure and powerful Heldentenor. Brian sang the role of Otello in R'Otello, the Rugby Opera in the GAFA Arts Collective presentation for the WORLDCUP OF RUGBY Festival in London, 2015.


Some of the roles below are ready to be performed, while others might take more time to fully mature:


Siegmund in “Die Walküre”

Samson in “Samson & Dalila”

Alfred in “Die Fledermaus”

Parsifal in “Parsifal

Cavaradossi in “Tosca”

First Armed Man in “The Magic Flute”

Luigi in “Il Tabarro”

Otello in “Otello”

Melot in “Tristan & Isolde”

Don José in “Carmen”

Titus in “Clemenza Di Tito”

Aegisthus in “Electra”


"(...) It should be clear that all voices that come to the Wagner repertoire, no matter by what route and however important the role, must be correctly and fully developed. Naturally experience in other repertoire will be an advantage, giving a singer wider musical and dramatic experiences. Wagnerian roles are taken on – one by one, the lighter and

shorter ones first – within a programme of mixed repertoire, according to voice type. This is the recommended and healthy route; it should ensure that such a voice will not become muscle bound and stiff from too much heavy work too soon.”

Neil Howlett, “On singing Wagner”, Opera festivals 2011



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